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“I See You” (2019) Movie Review

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See this spellbinding enigma! I See You is a beautifully and cleverly crafted horror-adjacent psychological thriller that combines the horror of a People Under the Stairs urban legend with the police procedural stylings of SE7EN and Along Came a Spider with Lynchian influences. An official selection at last year’s South By Southwest Film Festival, this movie is now included with Amazon Prime and available on other streaming services. Even since movie theatres had to close in the wake of COVID-19, I have been struggling to identify films to watch for purposes of a formal review. While selecting rewatches and select new watches for pure entertaining and passing the time has also been a struggle, I meet with a paralyzing indecisive quandary when browsing VOD selections for a film to review. Perhaps I am in the minority on this, but I depend on theatrical releases for structural, filter, and priority purposes. But after not releasing a new article last week, I knew that I needed to watch and review something. At the recommendation of a friend of my sister’s, I checked out I See You, and I am glad that I did! Starting out in a very Lynchian fashion with sweeping birds eye view camera shots over a sleepy, yet affluent hamlet, the seemingly supernatural tedious first act gives way to terrifying reality told through an enigmatic nonlinear narrative device in the second and third acts. To get into plot specifics would deprive you of the thrill of a first-time watch, but don’t believe everything you think you see in the film. Playing around with points of view, trauma, and the breakdown of a family, this film delivers the twists and turns you desire from a psychological thriller while concurrently delivering a depiction of what happens when trauma festers in the mind and soul without a constructive way of resolving it. In retrospect, some of the logic of the plot doesn’t quite make sense, and there are some elements that you simply have to chalk up to the suspension of disbelief. But the rollercoaster of a showdown finishes in a brilliant crescendo that feels like something that Wes Craven and David Lynch would have written together.

Strange occurrences plague Greg (Jon Tenney), a small town detective, and his family as he investigates the disappearance of a young boy whom appears to be the victim of a copycat serial killer. With the specter of a man sent to prison that may have been innocent, Greg is also dealing with the recent affair of his wife Jackie (Helen Hunt) and the unbridled anger exhibited by his son Connor (Judah Lewis) over his mother’s affair.

The nonlinear plot of I See You employs Hitchcockian misdirection with subjective vantage points and audience expectations versus reality. Quite the brilliant combination for a psychological thriller. After the diegetic catalyst of a young boy being violently ripped from his bicycle–literally thrown into the air–sets the melancholy, ominous tone for the movie, the first and second acts of the film tell the same story, but from two different perspectives. The malevolent force witnessed in the opening scene seems to follow audiences to the unnerving confines of the Harper house that is spatially large, but an ominous presence takes the palatial house and makes it feel like a prison. In retrospect, the breadcrumbs are all too obvious; however, many of these conspicuous clues go unregistered by the audience because of the more exciting prospect of a supernatural force at work. I appreciate how the main action and subplot compliment the themes of reconnecting with estranged family members, guilt, resentment, and trauma. Moreover, the search for the missing boy parallels Jackie’s search for her estranged son whilst dealing with her ideal family image hiding dark secrets.

During the first act, we receive a great deal of exposition; fortunately, the subplot backstory of Jackie’s transgression (which we learn is a recent affair for which she is genuinely remorseful) is delivered primarily through dramatic character reaction and supplemented with dialogue. While the familial drama provides a tantalizing subplot, it’s the search for the missing boy believed to be the victim of a sadistic pedophillial copy cat serial killer that is the main action plot of the film. And the backstory for the action plot is creatively delivered through the police procedural headed by Greg. We learn everything that we need to know in order to understand the plot in the first few scenes. While some of what we learn is intentionally designed to misdirect our attention–think of it as a magician focusing our attention on his right hand while it’s the left hand that is creating the magic–it is still valuable information that will all come together in the end. After the big reveal in the epilogue, everything that unfolded throughout the movie becomes even more sinister.

Over all, you’ll find strong performances by the three lead cast. The top-billed Helen Hunt, while starting out as the central character, quickly becomes a chief supporting character to Tenney and Lewis. However, she delivers the strongest performance out of the three. Not that the other two do not command the screen, Lewis is able to showcase his acting chops that provide evidence that he is shaping up to be a diverse actor capable of the young adult comedy of The Babysitter and the shocking anger of his character in this film. Screenwriter Devon Graye and director Adam Randall demonstrate an outstanding comprehension of story craft that simultaneously embraces horror/thriller tropes and subverting the genre expectations. Creatively expressing the story for the screen is the stylistic cinematography that effortlessly switches modes from subjective to objective without disorienting the audience. The editor takes a page out of the David Fincher color pallet and technique to showcase the neo-noir tone of the film. Editing is one of the most undervalued technical elements in a film–undervalued by the general public–because the best editing is the kind that doesn’t become a spectacle but supports the narrative by communicating the plot and emotion of the story. Communicating the unsettling tone and shocking moments in the film is first-time composer William Arcane. From the writing to acting to the technical elements, this film provides a highly entertaining, and at times terrifying, story!

I See You may not be for everyone, but the intended audience will definitely enjoy it! The types of people that will enjoy this most are those whom already enjoy the non-supernatural Lynch, Craven, Hitchcock, and Craven movies. With the nonlinear storytelling, there was such a possibility of failing in the execution, but director Randall crafts an excellent thriller that will have you wanting to rewatch it to see all the clues you missed before. Even though it is definitely rewatchable once, I do not feel that it is the kind of movie that will be continually rewatchable through the years. However, it is certainly a solid selection for your enjoyment, especially if psychological thrillers are your thing.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in the Tampa area, feel free to catch a movie with him!

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“Wendy” mini movie review

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Visually stunning, but narratively confused. From Benh Zeitlin, the writer-director of the Beasts of the Southern Wild, comes Wendy, a reimagining of Wendy from the J.M. Barrie classic Peter Pan. While this film does touch on and integrate the beloved themes of the story of the boy who wouldn’t grow up, the themes lack consistency because the plot is all over the place. Clearly this film is a passion project of Zeitlin’s that undoubtedly contains ample meaning behind every scene; unfortunately, that meaning and purpose are largely lost upon the audience due to the complete chaos that unfolds from beginning to end, a chaos for which you will likely need a dramamine. You still get the exploration of the idea of neverending childhood, but the plot and dialogue posit far too many questions that seldom get answered through diegetic exposition. The references to the Peter Pan, with which we are far more familiar, will bring a smile to your face and serve as motivation to keep going on this journey, but those are few and far between. And when we do get a familiar reference, it’s completely changed. For example, “when the first child laughed for the very first time, the laugh broke into a thousand pieces, and that was the beginning of Mother.” No, you didn’t misread that quote from the movie, instead of the laugh being the origin of faeries, it is the origin of the protector of the unnamed island that serves as our Never Neverland. In some ways, Mother is a Tinkerbell like character, but in the form of a giant fish-like creature. Ultimately, this film appears to be confused as to what it wants to be. A lot of heart-felt ideas, but poorly executed.

Just who is the audience of this film? It’s too edgy for kids but not edgy enough for adults; furthermore, the allegorical themes are difficult for adults to understand, let alone children. Adults will be able to identify the commentary on what’s lost and gained on the journey from child to adult, but everything else is lost in the wandering plot and story. So what does work? The cinematography and score are both outstanding! Truly this is a beautiful film that contains thoughtful artistic elements that will capture your imagination–but then give it nothing to do. In terms of the child actors, every performance is great! I was thoroughly impressed with the level of actor talent across the board. In particularly, our two lead characters Wendy (Devin France) and Peter Yashua Mack) deliver excellent performances. One thing is for sure, there is a lot for audiences to unpack here, but this reimagining of Wendy and Peter Pan will likely leave most audiences unsatisfied and disappointed.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in the Tampa area, feel free to catch a movie with him!

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Disney-Pixar’s “Onward” Movie Review

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You are going to catch feels! Disney-Pixar’s Onward is a powerful animated motion picture that will take you on an exciting and emotionally charged journey. There is such a tremendous beauty in the simple storytelling that explores familial relationships through the conduit of a fantastical quest. Onward reminds me of a classic Spielberg-like coming-of-age action-adventure movie with heart. Interestingly, I am reminded of many DreamWorks movies, including How to Train Your Dragon, in the overall look of the movie. It’s almost as if Pixar saw what DreamWorks was doing right, and in a very Apple way, set out to do it better. Onward is what you get when you take the visual design and themes of DreamWorks movies and pair them with a quintessential Pixar story. Much like Coco provided us with a compelling story that would forever change how we view family tradition and history, this movie explores the relationship between brothers on their quest to bring their dad back from the dead for one day. In a day and age in which relationships between brothers or sons and fathers seem to be largely absent from themes in movies, this is a refreshing look at these relationships in a positive, healthy light. While this is an animated motion picture, it is every bit pure cinema as a live-action counterpart. The great Cecil B. DeMille stated, “the greatest art in the world is the art of storytelling,” and Onward is a great story for the whole family! You will encounter joy and warmth in the plot and characters as you set forward and press onward in your adventure along with Ian and Barley. Unlike a typical action-adventure movie, this one does take a little while to get up to speed. But once that second act kicks into gear, you will experience a thrilling good time that will have you laughing and crying in true Pixar fashion.

Two teenage elf brothers, Ian (Tom Holland) and Barley (Chris Pratt) Lightfoot, go on a journey to discover if there is still a little magic left out there, after receiving a mysterious gift from their mother on Ian’s birthday, in order to spend one last day with their father, who died when Barley was little and before Ian was born (IMDb).

Not your usual fantasy movie! While Onward starts out with a voiceover narration providing exposition against the backdrop of a fantastical world of elves, wizards, mythological creatures and more, the prologue lays out the historical piping to provide important context for the modern story that is about to unfold. We are told that the world was once full of magic, but over time, the industrial revolution and invention of technology took the place of magic. Eventually the world simply forgot about its very existence. I love this setup, because it’s a mirror of our own world in which technology has radically altered how we interact with the world around us and even each other. When we rewrite or forget the past, it has a profound impact upon our present and future. I appreciate how this film highlights the importance of not forgetting the past, not forgetting where we came from. Looking to the past, even recent past, can help to shift our focus from ourselves to others. Sometimes we can even find a whole new appreciation of the present by stepping back and realizing the indirect meaning behind actions that have impacted our growth and development. One can even read this as a commentary on art versus commercialization. For the sake of cost and simplicity, much that was once crafted is now churned out on an assembly line. We forget the importance of personal investment of time and energy into everyday elements. Perhaps we can even liken this to film versus digital. Many different ways of reading this analogy!

I often comment in my screenwriting class at the University of Tampa that some of the best movies out there have simple plots and complex characters. For a visualization of what that looks like, think of that little black dress or classic black suit that lives in many of our closets. Those simple outfits can be accessorized in so many different ways to make a lasting statement or impression. There is a beauty in the simplicity. Same with the story in Onward. At its core, this movie is about a quest to find the long lost Phoenix stone in order to bring Ian and Barley’s dad back to life for one day. But along the way, our two central characters encounter conflict after conflict that reveals to us the various layers of our characters. We learn so much about their history, goals, needs, and more in how they each uniquely respond to the same obstacles. Lasting conflict can often be achieved by giving two characters the same goal, but they each have vastly different methods for achieving the goal. This concept is played out over and over again throughout the movie, and it works incredibly well! I also appreciate this movie for just how funny it is! Honestly, this is probably one of Pixar’s funniest movies in a long time! All the action and emotional elements of the Onward are superbly satisfying and work completely in sync, just like all the section of a symphony playing in perfect harmony!

Each and every obstacle that creates conflict between our two brothers moves the story forward; never once do we reach a point in the plot in which we are spinning our figurative wheels. Representing a microcosm of a larger plot structure, each and every scene in a movie is made up of a setup, conflict, and resolution. And the resolution (be it negative or positive) points to the next scene, and the following scene does the very same. Every scene is a piece of the track that points to the end of the movie. With a tight script, Onward is consistently moving us forward to the showdown and realization of this movie. What makes the conflict we witness in the movie all the more relatable is just how common, everyday much of it is. We may be in a world of fantasy, but the problems experienced by the brothers are the same as the ones we experience in real life. Most of us with siblings don’t always get along–certainly in our growing up years, it can be that way–but this movie is a testament to the importance of connecting and appreciating our siblings for what they teach us and how they impact our lives even when we don’t realize it. For those whom may have lost a parent, often times, you can find your parent in the life of your sibling and vice versa. Loving parents leave a legacy in their children.

Visually, the movie is stunning! I love just how “not” Pixar it looks. Ever since Pixar started striving for quasi photorealism, I’ve not been as impressed with the animation. For example, I prefer the look of Toy Story 3 to Toy Story 4. The production design and animation in Onward reminds me of much of what DreamWorks has produced over the years in terms of themes and design. Perhaps DreamWorks will see Onward and think to themselves, “gee, they took a page from our playbook and did it better.” The plot is tighter, the comedy is better developed, and the characters more fleshed out. Essentially, this movie indirectly highlights what is missing in many DreamWorks movies, and that is stronger screenplays. Onward delivers an animation design that is rich with everything that you want to see in a world of fantasy! So many fantastical creatures that feel right at home within their world. And this world feels incredibly believable. In many ways, it looks just like our world in which the modern can be right up next to the ancient, where sometimes historical buildings are at risk for being torn down to make way for something new. Looking across the landscape, you will be delighted at the attention paid to effective world building and the little things that make such a difference.

Don’t think of this as Pixar’s throwaway movie, as some have, this is an outstanding animated motion picture that delivers an engaging adventure paired with an emotional roller coaster that will have you laughing and crying.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in the Tampa area, feel free to catch a movie with him!

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Brahms: The Assistant 2 mini movie reviews

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While the ending of Brahms: the Boy II may ruin the rest of the movie for you, at least you can make it to the end, because The Assistant will put you to sleep faster than Ambien. Much like with the first The Boy, this one also has a fantastic setup, but the outlandish, from-out-of-left-field, bizarre showdown will undo any and everything done well in the first two acts. The scariest part of the movie is the very beginning when the catalyst for the entire story occurs. Even though horror sequels do not tend to be as strong or as appealing as the original–and that’s assuming the original IS good, which The Boy is not–there are surprises such as Ouija: Origin of Evil and Annabelle: Creation, both of which were far superior to the original. The aforementioned are excellent horror films! This is important to know because that is why I was cautiously optimistic for Brahms: the Boy II. Even though the first one was bad, there was hope that the sequel would be good, especially after the trailer wasn’t half bad. Needless to say, I was completely wrong. The same problems that plagued the first one, plague this one too. The writer certainly knows how to setup a story, even deliver some tension-filled conflict, but then drops the ball and get lazy in the third act. I don’t think anyone truly went into this movie wanting a compelling story, thoughtful social commentary, or anything along those lines, but it billed itself as a fun movie. And it was not. If your movie isn’t going to be “good,” then it at least needs to be entertaining all the way through. Although, this movie was far more entertaining and engaging than The Assistant. And that’s not saying much.

The Assistant is one of those intimate dramas that undoubtedly began with the intention to explore the sexist nature of office culture, the film industry, and why whistle blowers are afraid to come forward. There is a thoughtful, relevant, timely topic in this film that needs to be dramatized more, but instead this one seeks to put you to sleep instead because the screenplay gives these characters nothing to do, no goals, or any meaning behind the action plot. Not much of a plot to begin with. With such an opportunity to craft a thought-provoking film WITH a compelling plot, I wonder why it wound up just feeling like a “day in the life of” and that’s pretty well it. As I tell my student, “a day int he life of” is not a plot in and of itself. Interestingly, the trailer made this one look like Office Killer, but it’s definitely not horror nor even horror-adjacent, in the conventional sense. This same story would have worked so much better had it gone the horror route to comment on office culture like the neo cult classic Office Killer. Thankfully, I watched The Lodge before these two movies the week they all released, and that film helps to make up for the time spent with these two.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“The Invisible Man” Horror Film Review

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You won’t believe your eyes! Finally, a remake of a classic horror film that has the soul of the original yet feels completely fresh. Just when the Universal Monsters were about to be sealed in their coffins and sarcophaguses for all eternity, following the abysmal Mummy remake in 2016, writer-director Leigh Whannell delivers an excellent horror film that proves to us that a remake of a classic film can work! While the Invisible Man may not be in the cultural zeitgeist to the same degree that Dracula, Frankenstein’s monster (tho, creation is more precise), the Creature from the Black Lagoon, or the Mummy are, he is the Universal Monster that is by far the most psychotic, sharing a lot in common with the modern slasher. Furthermore, the Invisible Man demonstrates negative psycho-social characteristics, when exhibited by people in real life and not in check, are utterly terrifying. Perhaps the trademark characteristic of the Invisible Man is his uncanny genius that ostensibly isolates him both psychologically and spatially from society; moreover, this self-imposed isolation gives way to the extreme superiority complex that fuels the disconnect with mankind. Unlike a psychopath, the Invisible Man is fully aware of what he is doing, so he is much more of a sociopath. Sociopaths are cognitively aware of the violent or otherwise destructive acts he or she is committing, and that makes them far more dangerous than psychopaths. In order to provide audiences with a new experience, not only does Whannell update the science behind just how the invisibility works, but he also shifts focus to a different central character. Instead of the Invisible Man, it is Elisabeth Moss whom takes center stage as our tormented central character. Keep your ever watchful eyes wide open because you will see that everything in the film is both incredibly interesting and has everything to do with the plot.

The Invisible Man written and directed by horror veteran Leigh Whannell is a remake of the classic Universal Monster horror film by the same name and an adaptation of the original novel by H.G. Wells. When Cecilia’s (Elisabeth Moss) abusive ex Adrian (Oliver Jackson-Cohen) takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see. Her explanations fall on seemingly deaf ears as the evidence seems hollow. (IMDb)

The strength in this remake lies in the excellent screenplay by Whannell. While all the technical and creative elements work incredibly well, it is the strong visual storytelling and plotting that forms such a solid foundation for reimagining The Invisible Man for a 21st century audience. You will find elements of the classic film Gaslight, H.G. Wells’ original novel, and the original 1933 Universal film. Cecilia is a compelling character with immense depth because she is experiencing psychological and physical abuse that may have a supernatural component but feels unapologetically real, nevertheless. Whannell’s Invisible Man is a character-driven story that explores the psychological toll that one experiences when the world does not believe you, no matter how disturbing the evidence. In this case, it’s domestic abuse turned other mass violent acts, including murder, but it could just as easily be any number of major and minor abuses that are difficult to prove especially when the world doesn’t believe you. Moss’ Cecilia is a relatable character for anyone that has ever been unsuccessful in convincing the world of your trauma and abuse. She carries the weight of her abusive relationship around with her every minute of everyday. Even before Adrian was truly terrorizing her in a sadistic poltergeist-like fashion, his specter was already haunting her. This film provides an avenue for Whannell to explore the far-reaching abuse sustained by Cecilia at the hands of a–by the world’s standards–a great man of scientific achievement and intellect.

We see very little of the Invisible Man, but this only helps the film deliver outstanding tension and suspense. Because we cannot see the Invisible Man, we are constantly looking for him in every corner of the screen. Suspense is achieved through not relying on the actions of the Invisible Man, but rather on the absence of him. Once his capabilities are established, and we get that first glimpse into his sadistic actions, then we go relatively long periods of nothing from him. And that is precisely what this film needed! This staggering of Invisible Man moments delays what we are expecting, thus building solid suspense. Whannell takes a page out of the Alfred Hitchcock handbook by transferring the horror on screen into the minds of the audience. Here, the horrors are such much more visceral and lasting. The Invisible Man’s torments of Cecilia start out small and then grow with intensity. And not just the same kinds of torments, but strategically different ones that When Cecilia’s abusive ex takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see. every aspect of her life. His goal is to cut her off from everyone and everything, including her own sanity. Only then, can he control and manipulate her to the extent he desires. Each attack on Cecelia, or someone close to her, disconnects her from that which is familiar and makes her feel safe. Like a lion separating prey from the larger group, in order to move in for the kill, Adrian is calculating in his movements.

The score and cinematography are right out of a classic monster horror movie! Much like A Quiet Place relies upon the power of silence to heighten the senses and keep, The Invisible Man also uses strategically placed moments of silence to create a fantastic sense of unease that keeps you on edge. The score in this film does a terrific job of setting the mood and tone right from the very beginning; furthermore, the score feels like a direct extension of the emotional beats of every scene. The cinematography may not have anything in particularly stylistic about it, but the framing of each scene is perfectly executed. Each frame is so important to us because we are always looking for little signs of the Invisible Man. It’s like Whannell was playing a game with us! There are shots framed in such a way that you think the Invisible Man is going to make some kind of appearance, but he usually doesn’t. But you will be convinced you saw him, and that is such a fun part of the movie. It’s not only the plot that keeps us guessing, but each and every shot does the same!

Elizabeth Moss’ performance as Cecilia was nothing short of an outstanding achievement! From the moment we first meet her to her last frame, she delivers a compelling performance that will stick with you long after you leave the cinema What’s truly mindblowing is the fact she is playing off nobody (in real life anyway). It’s just her on that set and the film crew, and that’s it. Not only does she wow us with her terrifyingly convincing facial expressions, but her entire body is fully engaged in each and every moment. Never once do I see the actor, I see only her character of Cecilia. While I know Moss is an accomplished actor from her past roles, including last year’s Us, she surpassed all of my expectations of her acting. Her performance is right up there with Toni Collette’s in Hereditary. This isn’t simply a great delivery for a horror film, it’s a superlative performance for any film period. And it’s not just in her more manic scenes; even in the calmer scenes, the subtleties of each movement, twitch, glare are hauntingly authentic and leap off the screen. The central character of a motion picture is our conduit into the story in order to vicariously experience the plot and emotions. Moss’ Cecilia is relatable, genuine, and demonstrates equal parts vulnerability and strength.

Leigh Whannell’s The Invisible Man is a testament to the ability for a writer-director to take inspiration from a classic movie and reimagine it for a new generation while keeping the soul or the original alive. I don’t take issue with remakes of classic movies, but I do take issue with remakes that have no respect for the original source material. This film feels both fresh and familiar as it takes what the original did well, and use those elements in a modern way. The bones of the original and this remake are largely the same, but the muscles are developed differently in order to deliver a new story. While we haven’t been officially told that Universal’s Dark Universe is back on, the critical and box office success of this film may just reignite those embers that were snuffed out by the awful Mummy from the other year.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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